Selected works.

WavePrism (formerly Synesthia) runs stage lighting and projected visuals from the act of playing. Its patent-pending engine listens to the band through a single microphone, recognizes where they are in each song in real time, and fires the show they designed, following along as the tempo pushes and pulls. No click track, no timecode, no operator.

Designing that show is as intuitive as working in a DAW: load a song, let WavePrism find its sections, give each one a look, and preview exactly what the lights will do. The goal is professional-level lighting that any musician can set up and understand.

I designed and built WavePrism end to end, from the audio engine and interface to the brand, website, and launch film. Developed as my M.M. thesis at Berklee Valencia, it launched in private alpha in September 2026.

A five-part interactive installation presented at CCCC Valencia for INOCON, Berklee Valencia's annual festival of music and innovation. Games, instruments, and motion-tracked interfaces fed into a single shared musical and visual system. Hundreds of visitors of every age and background played across one day, and what they played became part of the room.

I co-designed the installation's system architecture, integrating four independent stations into a unified Ableton Live session that turned the whole room's input into a continuously evolving composition. As the project's representative to the INOCON committee, I worked closely with the Berklee Valencia production team to plan the equipment manifest, signal flow, and physical setup.

My own station was The Conductor, a hand-tracked system that let visitors play a string orchestra through gesture. Hand distance and gesture data generated MIDI sent to the global Ableton session, with a mirrored display rendering red lightning and glow onto the visitor's hands in real time. The visual feedback loop produced unexpected moments of social connection: strangers conducting together, families finding rhythm with each other, couples watching their hands light up in real time.

Reach turns the body into the mixer. Four cardboard boxes stand in a row, each assigned one stem of a track. Raise a hand toward a box and that stem fades up while a unique visual illuminates its surface. Lower the hand and both fade away. No knobs, no faders. Just a single gesture, reaching toward sound, controlling audio and image as one unified parameter.

Built end-to-end during finals week at Berklee Valencia. Hand tracking runs on Google's MediaPipe; I built the segmentation and MIDI layer with Claude Code. The camera feed splits into four vertical zones and sends CC values to two applications in parallel: Ableton Live controlling stem volumes across four tracks, Resolume Arena driving layer opacities and projection-mapping the visuals onto four corner-pinned slices aligned to the physical box faces. Sound and image stay locked because they're driven by the same number.

A hybrid synthesizer and drum machine played by moving a flashlight through space. Six photoresistors mounted on breadboards detect the beam's intensity in real time. Three on the right wall trigger drum layers, three on the floor sculpt a droning synth voice.

A custom Max/MSP patch reads the sensor data over serial and maps light intensity to musical parameters: drum density and instrumentation on the rhythm side; filter cutoff, harmonization, and phaser depth on the texture side. A separate patch runs a generative visualizer that reacts to the drum patterns in real time, giving the performer visual feedback alongside the sound.